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Drag Performans Kao Oblik Subverzivne Umjetničke Prakse U Suvremenoj Hrvatskoj Umjetnosti

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Drag Performans Kao Oblik Subverzivne Umjetničke Prakse U Suvremenoj Hrvatskoj Umjetnosti Diplomski rad DRAG PERFORMANS KAO OBLIK SUBVERZIVNE UMJETNIČKE PRAKSE U SUVREMENOJ HRVATSKOJ UMJETNOSTI Toni Zadravec Mentor: dr.sc. Jasna Galjer, redoviti profesor ZAGREB, 2018.g. Temeljna dokumentacijska kartica Sveučilište u Zagrebu Diplomski rad Filozofski fakultet Odsjek za povijest umjetnosti Diplomski studij DRAG PERFORMANS KAO OBLIK SUBVERZIVNE UMJETNIČKE PRAKSE U SUVREMENOJ HRVATSKOJ UMJETNOSTI Drag Performance as a Subversive Artistic Practice in Contemporary Croatian Art SAŽETAK: Ovaj diplomski rad razmatra fenomen drag performansa kao subverzivne umjetničke prakse i oblik queer umjetnosti koji se na hrvatskoj kulturnoj sceni u kontekstu samostalnog performansa javlja tek u posljednjih nekoliko godina te nastoji opisati tu scenu te njezine ishodišne točke, odnosno njezinu povezanost s globalnom drag scenom. Drag performans je oblik parodijske i umjetničke prakse pri kojoj se estetizira i dramatizira rod, odnosno gdje se kontingencija i arbitrarnost roda raskrinkavaju kao performativni činovi. Iako se ne radi o novom fenomenu, drag performans najviše zaživljava u američkim gay klubovima 2. polovice 20. st. gdje drag performeri nastupima pred publikom izvode oblik političkog protesta – spajajući tehnike lip synca, cross-dressinga i imitacije roda kako bi naglasili njegovu lažnu stabilnost. Iz gay klubova, drag je izašao na ulice u politički bitnim događajima i postao stalan dio queer kulture, a zaživio je i na području filma, naročito u vidu camp mjuzikala kao što su The Rocky Horror Picture Show ili filmovi Johna Watersa. U većim urbanim središtima poput New Yorka, zaživjeli su i oblici kontrakulture kao što je ballroom scena dokumentirana u filmu Paris Is Burning. Usprkos tihom komercijalnom potencijalu, drag na mainstream scenu izbija tek uspjehom reality TV emisije RuPaul's Drag Race, koja daje uporište vidljivosti i proliferaciji drag performansa na globalnoj razini pa tako i u Hrvatskoj, gdje, usprkos primjerima pojave elemenata drag performansa na umjetničkoj, glazbenoj i filmskoj sceni, samostalni drag performans postoji tek nekoliko godina, uglavnom zahvaljujući djelovanju kolektiva House of Flamingo. Producenti i performerice putem razgovora opisali su nastanak, oblik i djelovanje hrvatske drag scene te njezine poveznice s dragom na globalnoj razini pri čemu se ističe univerzalnost draga kao performansa koji je ujedno zabavan i kontroverzan, neovisno o kontekstu u kojem se javlja. Rad je pohranjen u: knjižnici Filozofskog fakulteta Sveučilišta u Zagrebu. Rad sadrži: 66 stranica, 8 reprodukcija, 2 priloga. Izvornik je na hrvatskom jeziku. Ključne riječi: camp drag parodija performans queer rod Mentor: dr.sc. Jasna Galjer, redoviti profesor, Filozofski fakultet Sveučilišta u Zagrebu Ocjenjivači: 1. dr.sc. Nikica Gilić, izv. prof., Filozofski fakultet Sveučilišta u Zagrebu 2. dr.sc. Josipa Lulić, viši asistent, Filozofski fakultet Sveučilišta u Zagrebu 3. dr. sc. Jasna Galjer, red. prof., Filozofski fakultet Sveučilišta uZagrebu Datum prijave rada: _______________________________ Datum predaje rada: _______________________________ Datum obrane rada: _______________________________ Ocjena: _______________________________ Ja, Toni Zadravec, diplomant na Istrazivačkom smjeru – modul moderna i suvremena umjetnost diplomskoga studija povijesti umjetnosti na Odsjeku za povijest umjetnosti Filozofskog fakulteta Sveučilišta u Zagrebu, izjavljujem da je diplomski rad pod nazivom „Drag performans kao oblik subverzivne umjetničke prakse u suvremenoj hrvatskoj umjetnosti“ rezultat mog istraživanja i u potpunosti samostalno napisan. Također, izjavljujem da niti jedan dio diplomskoga rada nije izravno preuzet iz nenavedene literature ili napisan na nedozvoljen način, te da se tekst u potpunosti temelji na literaturi kako je navedeno u bilješkama, uz poštivanje etičkih standarda u citiranju i korištenju izvora. U Zagrebu, Sadržaj 1. Uvod…………………………………………………………………………………………5 2. Drag – odvajanje parodije roda od rodnog identiteta……………………………………….6 2.1. Drag – demistifikacija roda kao društvenog konstrukta…………………………………..7 2.2. Drag kao američki oblik „trećeg roda“ – elementi američkog drag performansa…….…12 3. Drag na američkoj društvenoj i umjetničkoj sceni………………...………………………16 3.1. Drag u američkim camp filmovima: The Rocky Horror Picture Show i filmovi Johna Watersa………………………………………………………………………………….……18 3.2. Ballroom scena u New Yorku – Paris Is Burning…………………………………….…22 3.3. Iz američkog konteksta u globalni: RuPaul's Drag Race………………………….……24 4. Drag performans u Hrvatskoj……….…………………………………………….………27 4.1. Pojave elemenata draga na hrvatskoj umjetničkoj i kulturnoj sceni: glazbena scena, performans i film…………………………………………………………………………..…27 4.2. Drag kao samostalan oblik performansa na hrvatskoj sceni: rani klupski nastupi i House of Flamingo…………………………………………………………………………...………34 5. Zaključak……………………………………………………………………………...……45 6. Prilozi....................................................................................................................................47 6.1. Razgovor s producentima House of Flamingo...................................................................47 6.2. Razgovor s performericama iz House of Flamingo...........................................................53 7. Popis literature......................................................................................................................62 8. Popis slikovnih priloga……………...………………………………………………..……65 1. Uvod Drag je oblik performansa koji je usko povezan s queer zajednicom, a kod šire publike uglavnom se povezuje s terminima kao što su: kič, camp, glamur, teatralnost, pretjeranost, subverzija, zabava. Drag je izrazito derivativan i referencijalan, nostalgičan, ekspresivan i živopisan, visoko estetiziran i iznad svega - queer. Uglavnom se odnosi na ideju gay muškarca koji na pozornici nastoji utjeloviti ideal ženstvenosti, koristeći se različitim strategijama poput šminke, perika i odjeće kako bi parodirao ideju ženstvenosti, ili radije, onu ideju ženstvenosti koja je konstruirana kroz pogled straight muškaraca, u raskrinkavanju roda kao performativnog čina. Drag je „dokaz“ da je rod arbitrarna kategorija, ideja koju patrijarhalno društvo sustavno proizvodi i kroz strogu dihotomiju „muško“-„žensko“ upisuje na ljudska tijela. Ipak, drag obuhvaća puno širi spektar ideja od muškarca koji se odijeva u ženu. Postoje oblici draga koji proizvode žene, postoje oblici draga koji se ne realiziraju kroz imitaciju roda, već kroz imitaciju društvenog sloja ili rase, a neki oblici draga odmiču se od svih zadanih kategorija i proizvode subjektivne ideale ljepote, neovisne o sustavu koji te ideale diktira. Drag performans, pogotovo drag koji izvode gay muškarci, u posljednjih je nekoliko godina doživio veliku popularnost zahvaljujući globalnom uspjehu reality TV emisije RuPaul's Drag Race koja je rezultirala proliferacijom i vidljivošću drag performansa diljem svijeta, pa tako i u Hrvatskoj. Poticaj za pisanje o ovoj temi došao je iz općeg nedostatka literature o ovoj vrsti vizualnog, i usuđujem se reći, umjetničkog izražavanja, pogotovo po pitanju literature pisane na hrvatskome jeziku. Literatura koja je dostupna uglavnom se usredotočuje na istraživanje drag performansa u SAD-u, a tekstovi su pisani iz antropološke ili sociološke perspektive. Tekstovi koji svakako doprinose razmatranju draga kao relevantnog kulturnog fenomena također su tekstovi feminističke kritike, naročito radovi Judith Butler, koja je o dragu pisala u svojim radovima Gender Is Burning i Gender Trouble. Ono što je zamjetno, čak i uz literaturu i istraživanja koji su dostupni je da povijest umjetnosti sustavno zanemaruje drag kao oblik performansa koji zaslužuje pozornost i valorizaciju. Ovaj diplomski rad nema za cilj etablirati drag kao oblik visoke umjetnosti, već skrenuti pozornost na drag kao oblik umjetničke prakse koji ne bi smio biti zanemaren po pitanju kulturnog i političkog značaja. Drag je, kao što sam već napomenuo, visoko estetiziran, teatralan i potencijalno subverzivan, što ga svakako čini relevantnim kulturnim fenomenom, pogotovo u zemljama kao što je Hrvatska, gdje je drag scena još uvijek vrlo mlada. U ovom ću radu, u skladu s dostupnom literaturom, nastojati dati temeljni pregled draga kao izvedbene forme; uz definiciju draga, osvrnut ću se na produkciju 5 drag performansa u američkoj popularnoj kulturi i umjetnosti: od noćnih klubova, preko camp filmova do globalno poznate emisije RuPaul's Drag Race. Uz to, nastojat ću opisati hrvatsku drag scenu i odrediti postoje li određene poveznice između američke i hrvatske drag scene te postoji li oblik draga koji bi mogao biti specifičan kao „hrvatski“ drag. S obzirom na nedostatak znanstvenih izvora, za istraživanje same hrvatske drag scene konzultirao sam brojne autore i neprofitne udruge za pomoć, u nastojanju uspostavljanja svojevrsnog historiografskog okvira pojave draga u hrvatskoj suvremenoj umjetnosti i kulturi. Za opisivanje aktualne drag scene u Hrvatskoj posegnuo sam za metodama kvalitativnog istraživanja te sam u razgovoru s protagonistima te scene nastojao ilustrirati njezino trenutno stanje i dosadašnji razvoj. Rezultat pred čitateljem je izrazito interdisciplinaran rad koji se oslanja na postojeću literaturu i na subjektivne stavove kazivača koji konstituiraju reprezentaciju drag kulture u Hrvatskoj. 2. Drag – odvajanje parodije roda od rodnog identiteta Kako bismo mogli raspravljati o drag performansu kao o legitimnom kulturološkom i društvenom fenomenu u danom kontekstu (bilo hrvatskom, bilo globalnom), bitno
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